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Boston Symphony Orchestra Concert Programs, Season 57,1937

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Boston Symphony Orchestra Concert Programs, Season 57,1937 [Harvard University] BOSTON '^5? SYMPHONY ORCHESTRA POUNDED IN 1881 DY HENRY L. HIGGINSON FIFTY-SEVENTH SEASON ttJfM 1937-1938 \H [5] Thursday Evening, January 13 at 8 o'clock Boston Symphony Orchestra [Fifty-seventh Season, 1937-1938] SERGE KOUSSEVITZKY, Conductor Personnel , Violins 8URGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H. RESNIKOFF, . Concert-master GUNDERSEN, R. KASSMAN, N. CHERKASSKY , P. EISLER, D. FHEODOROWICZ, J. HANSEN, E. MARIOTTI, \ FEDOROVSKY, P. TAPLEY, R. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. RRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, l. MAYER, P. DIAMOND, S. t DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. MURRAY, J. ERKELENS, H. SEINIGER, S. Violas LEFRANC, J. FOUREL, G. BERNARD, A. GROVER, H. ARTIERES, L. CAUHAPE*, J. VAN WYNBERGEN, C. WERNER, H. AVIERINO, N. JACOB, R. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, J. LANGENDOEN, J. CHARDON, Y. STOCKBRIDGE, C. FABRIZIO, E. DGHERA, A. TORTELIER, P. DROEGHMANS, H. WARNKE, J. MARJOLLET, L. ZIMBLER, J. Basses KUNZE, M. LEMAIRE, J. LUDWIG, O. GIRARD, H. JUHT, L. VONDRAK, A. MOLEUX, G. FRANKEL, I. DUFRESNE, G. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. POLATSCHEK, V. ALLARD, R. BLADET, G. DEVERGIE, J. VALERIO, m. PANENKA, E. PAPPOUTSAKIS, I- MAZZEO, R. LAUS, A. Eb Clariaet Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MIMART, P. PILLER, B. Horns Horns Trumpets Trombones VALKENIER, W. SINGER, J. mager, g. RAICHMAN, J. MACDONALD, W LANNOYE, M. LAFOSSE, M. HANSOTTE, L. SINGER, J. SHAPIRO, H VOISIN, R. L. LILLEBACK, W. GEBHARDT, W. KEANEY, P. VOISIN, R. SMITH, V. Tuba Harps Timpani Percussion ADAM, E. ZIGHERA, B. SZULC, R. STERNBURG, S. CAME, L. POLSTER, M. WHITE, L. ARCIERI, E. Organ Piano Celesta Librarian SNOW, A. SANROMA, J. FIEDLER, A. ROGERS, L. J. jS>atttor0 ®fj?atr£ • Harvard University • QIambri&ge FIFTY-SEVENTH SEASON, 1937-1938 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor RICHARD BURGIN, Assistant Conductor Concert Bulletin of the Fifth Concert THURSDAY EVENING, January 13 with historical and descriptive notes by John N. Burk The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Bentley W. Warren President Henry B. Sawyer Vice-President Ernest B. Dane Treasurer Allston Burr M. A. De Wolfe Howe Henry B. Cabot Roger I. Lee Ernest B. Dane Richard C. Paine Alvan T. Fuller Henry B. Sawyer N. Penrose Hallowell Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [1] Complete On Two Sides of a Single Victor Record ELEGIE (By GABRIEL FAUBE HERE is a rare opportunity to obtain a complete work by this orchestra on a single Victor record — a work which has needed modern recording for a long time. The music is full of softly glowing color, and the celebrated 'cello solo which runs almost throughout is magnifi- cently played by Mr. Jean Bedetti. This record has been judged a it 3> SERGE koussevitzky gem. Alice Eversman, Washington^ (D.C.) Star, Nov. 20: — "The character of the '£legie' follows the smooth, flowing style which Faur6 has so often used for nostalgic composition. The melody is carried by the solo 'cello, excellently and beautifully played by Mr. Bedetti, against the softly sustaining background of the orchestra." Compton Pakenham, record editor of New York Times, Nov. 14: — "The full- dress Boston Orchestra, under Koussevitzky, has made what appears to be the first recording of Gabriel Faur£'s filegie as transcribed for 'cello and orchestra. Throbbing, meditative and mellow, the filegie is one of those rare compositions that make an immediate appeal through the richness of a melody. Bedetti's performance of the haunting air is fine and full." Robert C. Bagar, New York World-Telegram, Nov. 20: — "The somber beauty of this work reaches out of its waxen depths in a moving performance." "Elegie" on Victor Record No. 14577 List price $2.00 Recorded by The Roston Symphony Orchestra BOSTON MUSIC COMPANY 116 BOYLSTON STREET CHARLES W. HOMEYER CO. 498 ROYLSTON STREET M. STEINERT & SONS 162 BOYLSTON STREET JEAN BEDETTI [2] £>m\iltt& ®f}?atr£ • Harvard University • (ttambri&g? Boston Symphony Orchestra FIFTY-SEVENTH SEASON, 1937-1938 SERGE KOUSSEVITZKY, Conductor FIFTH CONCERT THURSDAY EVENING, January 13 DANIELE AMFITHEATROF, Conducting Programme Rossini Overture to "Semiramide" Boccherini Suite for Strings I. Grave II. Minuetto III. Rondo (First performance at these concerts) Dukas "L'Apprenti Sorcier," (''The Sorcerer's Apprentice") Scherzo (after a ballad by Goethe) intermission Beethoven Symphony No. 7 in A major, Op. 92 I. Poco sostenuto; Vivace II. Allegretto III. Presto; assai meno presto: Tempo primo IV. Allegro con brio r si DANIELE AMFITHEATROF Anew visitor to America, Daniele Amfitheatrof, has conducted the first five weeks of the present season of the Minneapolis Sym- phony Orchestra, as associate conductor. He was born in St. Petersburg, October 29, 1901. His father, Alex- ander Amfitheatrof, was distinguished as a historian. He had sung at the Imperial Theatre before adopting a literary career. The maternal grandfather of Amfitheatrof, Vladimir Sokolof, made his name as a composer of songs, and the mother of Amfitheatrof studied composi- tion with Rimsky-Korsakov. Amfitheatrof began to study music with his mother at the age of six, and later studied with Nicolas Scher- batchef and Joseph Wihtol in St. Petersburg, and Jaroslaw Kficka (a pupil of Hugo Riemann) in Prague. He went to Rome to complete his musical preparation under Ottorino Respighi, and received his diploma for composition from the Royal Conservatory of St. Cecilia. He also studied organ at the Vatican High School. His return to Russia occurred just before the Revolution of 1917, and in 1921 he returned to Italy and became a naturalized citizen of that country, which he has since made his home. From 1924 to 1929 he was pianist, organist and assistant in choral conducting at the Augusteo, acting as assistant conductor to Bernardino Molinari. He later became artistic director of the Genoa and Trieste Radio, and subsequently conductor and manager of the Italian Broadcasting Company in Turin. He has composed a number of works which have been performed in various parts of Europe. These includes his "Poema del Mare" (1925); "Miracolo della Rose" (a symphonic poem on a legend of St. Francis, 1927); "Preludio ad una Messa da Requiem" (1930). It was in 1934 that he conducted his own "American Panorama" at the Augusteo. His most recent work is his Concerto for Piano and Or- chestra, which was performed last spring in Paris and Turin. Mr. Amfitheatrof has appeared in many European cities as guest con- ductor — Milan, Turin, Trieste, Rome, Naples, Berlin, Brussels, Buda- pest, Belgrade, Vienna, and Paris (Pasdeloup and Lamoureux Or- chestras). [4] OVERTURE TO THE OPERA "SEMIRAMIDE" By Gioacchino Antonio Rossini Born at Pesaro, Italy, February 29, 1792; died at Passy, France, November 13, 1868 This opera in two acts on a libretto of Gaetano Rossi (based on Voltaire's tragedy of the same name) was first performed at the Fenice Theatre, Venice, February 3, 1823. It was mounted at La Scala, Milan, April 19, 1824; at the King's Theatre, London, July 15, 1824; at the Theatre Italien, Paris, December 8, 1825. The first performance in Boston Avas at the Federal Street Theatre, March 3, 1851. The Overture is scored for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum and strings. There has been one previous performance by this orchestra — February 23, 1923. When Rossini visited Vienna in the year 1822, the young man had plentiful assurance of the extent of his fame beyond his own country, for he was idolized in the Austrian capital as his opera "Zelmira" was performed. Rossini, who knew and admired Beethoven's "Eroica" Symphony and his then recent string quartets, asked his friend Carpani to arrange for a visit to this composer, which Carpani managed, not without difficulty. The dandified appearance of the brilliantly successful Italian composer must have stood out in contrast to that of the unkempt Beethoven in his grubby and disordered lodg- ings. Yet Rossini approached the elder composer with sincere defer- ence. He has left this description of the visit: "The familiar portraits of Beethoven give a good general idea of what he looked like, but no picture could express the indefinable sad- ness apparent in his every feature. Under the thick eyebrows his eyes shone as if from the back of a cavern; they were small but they seemed to pierce. His voice was soft and rather veiled. "When we entered, he at first paid no attention but continued to correct some proofs. Then suddenly, raising his head, he said in fairly good Italian: 'Ah, Rossini, so you're the composer of "The Barber of Seville." I congratuate you; it is an excellent opera buffa which I have read with great pleasure. It will be played as long as Italian Opera exists. Never try to write anything else but opera buffa; any attempt to succeed in another style would be to do violence to your nature.' " 'But,' interrupted Carpani, 'Rossini has already composed a large number of opere serie — "Tancredi" "Otello/' "Mose." I sent you the scores a little while back to look at.' " 'Yes, and I looked at them,' answered Beethoven, 'but, believe me, opera seria is ill suited to the Italians. You do not possess sufficient musical knowledge to deal with real drama, and how, in Italy, should you acquire it? Nobody can touch you Italians in opera buffa, a style ideally fitted to your language and temperament. Look at Cimarosa; T5] how much better is the comic part of his operas than all the rest! And the same is true of Pergolesi. You Italians have a high opinion of his religious music, and I grant that there is much feeling in the "Stabat"; but as regards form, it is deficient in variety, and the effect is monoton- !' ous.
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